Artist Collections – Proa
Can an artist be a collector at the same time? What do the collections of those who also produce art tell us about? What new meanings are possible to find between one’s own work and the choices one makes when acquiring a work from a colleague? How do the symbolic and material intersections of the collected works occur? These are just some questions that arise when touring Artist Collections, an exhibition organized by Fundación Proa, which brings together the private collections of artists: Cynthia Cohen, Marina De Caro, Sigismond de Vajay, Gachi Hasper, Inés Raiteri, Rosana Schoijett, Cecilia Szalkowicz and Gastón Pérsico.
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Curated by Patricia Rizzo and Mayra Zolezzi as associate curator, the exhibition highlights artists through almost 400 works of different formats and aesthetics that allow us to discover the work of an era. In each space of the rooms, works are exhibited that invite you to learn through them the interests, personal ties and creative intersections that make up your daily universe.
“Collections were chosen and then the works. They all have much more work than what they exhibit. Curatorially, it is an exhibition in which the perspective of the collector artist was taken into account,” says Patricia Rizzo, in dialogue with Infobae Cultura.
Collections, art and politics at Fundación Proa
The selection also bears witness to their own trajectories since the pieces chosen are the product of acquisitions, gifts and exchanges with other colleagues with whom they coincided in different periods and spaces. Given this particularity, and that in most cases this collection grew spontaneously, without a defined program or objectives, the artists invited prefer to describe themselves as “collectors” instead of collectors.
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Rosana Schoijett’s collection documents her experience as a photographic chronicler and is the result of the exchanges produced during her artistic journey. In that of Gachi Hasper, works by great geometric artists such as María Martorell, Germaine Derbecq and Marta Botto can be distinguished. In the artist’s words: “every time she sells, she buys,” and thus she practices the benefit of reciprocity. Cynthia Cohen preserves selected works by fellow friends such as Marcelo Pombo, Alberto Passolini, Jorge Miño and Luis Benedit. In Marina De Caro’s, in addition to anonymous works chosen mainly for her unique imprint, there is a marked presence of students who passed through her workshop.
“Collection of Artists”, at PROA Foundation
For its part, Inés Raiteri’s group is crossed by three important moments within its formation and stands out for a colorimetry related to the palette that the artist uses in her work: there are Daniel Joglar, Beto De Volder, Deborah Pruden, Elisa Strada , Maja Lascano and Marina De Caro. In the case of Cecilia Szalkowicz and Gastón Pérsico, like that of Schoijett, exchanges with friends are relevant and they consider their heritage as a collective biography constructed by their emotional environment. Finally, Sigismond de Vajay’s heritage is dispersed throughout the world and reflects different stages of his nomadic life. In this context, Spencer Tunick’s installation made in Frida Kahlo’s workshop in Mexico is exhibited.
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The exhibition offers a panorama of contemporary art from a different perspective. The artists themselves offer a reading of the context through their own acquisitions and propose that the viewer circulate and find relationships between their tastes, their environment and their own productions. “Each artist has on display the pieces that he has in his collection. I think it is an exhibition to see more than once,” concludes the curator.
Retrospective of Carlos Trilnick, one of the greatest references of video art in our country and Latin America
In room 4, the retrospective of Carlos Trilnick is exhibited, one of the greatest references in video art in our country and Latin America. Curated by Marcela Römer, a small set of photographs and video installations made between 1989 and 2019 allow us to discover the interesting universe of this artist, curator, disseminator and teacher and director of the Image and Sound program at the University of Buenos Aires between 2014 and 2018.
“Carlos has a very important career in relation to the history of Argentine art, in video art and technology. We made a timeline where you can see all the musicians and artists he worked with and the extensive career he had. He is a master of artists in the field of image and sound,” says Römer in dialogue with Infobae Cultura.
“Zero Ground”, by Carlos Trilnick
Trilnick (Rosario, 1957-2020) left an extensive corpus of projects that mark a turning point in the local history of multimedia art and testify to his commitment to history, education, human rights and memory.
In the exhibition there is a permanent nod in his works to nature, to the care of natural resources, to the denunciation of human rights and social injustices. “As a result of the context that has to do with the war in the Gaza Strip, we reproduced Personal Mines, an installation that he made at the University of San Diego and which is a denunciation that there are still buried mines in the world that people steps and causes deaths,” concludes the curator.
*The “Artist Collections” exhibition and the Carlos Trilnik retrospective can be visited until March 2024 at Fundación Proa (Av. Don Pedro de Mendoza 1929, La Boca), from Wednesday to Sunday, from 12 to 7 p.m.
[Fotos: Patricio Pidal – gentileza prensa Fundación Proa]
2024-01-04 06:51:44
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